This thesis is to consider the standing of comics in art education in junior high school through examples from the classroom from which I was able to catch a glimpse of the students expressively describing their daily lives using comics. In trying to achieve richness in children's creative expression by allowing them to use comics, it is important, first of all, to give them a positive perception of comics and make them realize they can express themselves through this medium. I would further like to emphasize that art education should extract the overwhelming breadth and depth from the so-called "comic culture" and define its status as well, centering around the theme of the expression of children.

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This article investigates teenagers'contributions to Eisai-Shinsi(New Magazine for the Gifted Pupils)in the early Meiji era. About 10% of the 191 cover pictures are Western-style pencil drawings, and 90% are brush drawings in sumi-e style developed from the Nanga school. We can see from teenagers'Essay and poetry that they used to go to see the art exhibitions, enjoy private collections including Western-style drawing and painting. Also, they used to compose a poem while appreciating a picture. It seems reasonable to conclude that they acquired the behavior like literati in old Chinese culture. Appended to this, from the point of Western culture, some of the contributors claimed that Sho-ga(calligraphy and painting in Japanese style)was analogous to Ga-gaku(drawing and painting for general education)that was one of the subjects in the same rank with 3R's in elementary school.

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In our culture today we focus greatly on the sense of sight. Sight is considered to be the most able of the 5 senses which humans possess. This being the case, we can begin to wonder as to the importance of the sense of touch, and whether a change in our perception of this sense is being forced. This suggestion can be also considered in the area of Art Education. "The synthesis of the 5 senses based on the sense of touch and the physical senses" is the theory concentrated on in our study. Through a review of the history of Art Education, we focus on learning how to appreciate art and practical study. A major point in this thesis is the clarification of the possibility that the ability of children to recognize beauty by using all their physical senses can be fostered by an appreciation of sculptures.

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The art of Sumi has started showing hybrid development within the movement of post-war contemporary drawing, in connection with abstractionism and contemporary calligraphy. In art education, a new development of Sumie is also expected corresponding with the ideal, a view of nature and a view of life connoted in the expression of Sumi. The characteristics of its expression are depicted by light and shade creating a meaningful world produced with diversified movements of lines. Moreover, uniformity with nature seen in Sumie unites subjectivity and objectivity as well as self and nature. It is significant for children to learn spatial expression shown by the shading of Sumi in Sumie and the particular sense of nature the recognition of space and expression.

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The purpose of this study is to examine children's formative "MITATE" ability so as to give meaning to the meaningless from. I considered the results of the research from the view of development. "MITATE"has been recognized as useful for the infant. The results were contrary to our general belief. Chirdren of the upper grades as well as the lower grades have taken delight in giving meaning to the meaningless from. Furthermore, various meanings and images have been produced. With growth, vocabulary is enriched and knowledge increases. But if it were not for the ability to realize, we wouldn't express the image. The ability to relate the meaningless form to those images is exactly "MITATE" ability. I propose to develop the teaching materials which suit children of the upper grades.

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This paper aims at investigating the practical effectiveness of subject matter, using examples obtained from art classes conducted at K private high school where the activities were called "collages based on free subject selection" , by analyzing students' activities in giving form to expressive awareness with subject metter as the motivation behind the form, and considering the educational significance. High school students' expressive awareness characteristically uses whatever means to express their intended ideas and thoughts straightforwardly. Teenagers sensitive sensibilities, various reactions to themselves, to society and the environment, and to the past and future were visualized, confirming the effectiveness of this subject matter.

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In everyday lessons, there are two approaches available to a teacher who supports children's creative development. One approach involves activities which ask children to create representations of the external world that are "developmentally" accurate. The other approach involves activities which contain structural conflicts designed to inspire children to attempt developmental leaps. In this paper I define these two positions as "to express nature "and" to express the inner self".By defining the scope and sequence of the content of children's creative education with these two approaches in mind, I'll attempt to restructure the teaching content of my lessons.

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This paper is an examination on children's play and large-sized toys. Playing with others is the most important thing for children to build their character. But in recent years children have not come to play together. There are several reasons for not playing with others;i. e. there is no time, no place for children and there is no parental understanding of the importance of playing. So, I had our junior college students design and produce some large-sized toys for children. Then I tried to give them these toys. I found that by using these toys, children made friends, cooperated with each other and made a basic rule for playing by themselves. Moreover, children and students were able to consider other people of different ages. To be concrete, students tried to understand what children need, and children were able to feel not only the enjoyment of playing with elders, but also trust in them and peace of mind. This is only one plan to solve a problem. So we have to think more about play for children.

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This is a sequel to two earlier papers which appeared consecutively in "Bijutsukyoikugaku" no. 19 and no. 20. The theme studied in the third paper is "surface. "It's one of the principal subjects on modulation between two seemingly contradictory modalities:representation and abstraction. Because of great historical accumulation, this theme covers actually so many cases of theory and practice that the author must narrow down the range of study. Consequently the following five subitems are reflected here. (1)illusion and physical surface, (2)surface covered with colors, (3)juxtaposition of various types of aplat, (4)reconsideration on landscape, and (5)superiority of touches. After summarily showing the author's opinion as a premise on "surface" in various children's pictures, in the first subitem, he proposes an unseparable relationship between recognizable imagery and physical presence as a unique characteristic of painting. He compares Rembrandt's two works and introduces Nancy W. Berry' s teaching program for analytical observation of Goya' s work. A thematic aspect where two elements(representation and abstraction)are intertwined is more developed in the second subitem in terms of Maurice Donis' famous definition of painting as surface covered with colors. Related to this issue, abstract quality of aplat(a plane painted flat by one color)is interpreted in the third subitem. Paul Gauguin's works in Cloisonistic form are mainly spotlighted as excellent examples through (2) and (3). Quasi-abstractness of landscape is the theme in the fourth subitem. Paul Serusier's Talisman introduced as an example is a repertoire of varied physical presence like fragmentary touches, vivacious brush strokes, many types of aplat interestingly juxtaposed etc. Some children's works which are relevant to the matter are also examined here. The fifth subitem deals with allover condition filled by numerous subdivided touches. In this case, viewers might experience space rather than figures. The author picks up Edouard Manet who created "painture cleire" and Claude Monet who had an inclination for both nonfigurativity and tremendous tangibility. Additionally, he makes reference to students'peculiar works. The matters of Paul Cezanne's well-organized modulation of colorful short touches, relieflike space of Analytique Cubism, experiments of papier colle and so on will be approached in the next paper.

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What occurs when one "observes a work of art" or "understands a work art"?The theorists mentioned in my essay describe this event as a dynamic process occuring between the observer and the artwork. The work recalls different experiences, evokes emotions or fantasies in the observer. A kind of communication begins between the work of art and the observer resulting in a new appreciation of the work. The observer can then recognize the picture. This cognition may be novel for the observer as a result of the interaction which has taken place between him and the work of art. John Dewey, for example, says that it is the product of continuative mutual effect(aesthetic experience). Discussion of this process in the framework of the Hans Robert Jauss theory shows us how to learn about oneself through the art. The ideas of Umberto Eco will be introduced in what follows in order to combine the above mentioned dynamic and which art education.

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The purpose of the present article is to consider the educational value of the Yar-su(Pot made of the bark of trees)for formative art education. The present article will describe the process of collecting the material(tree bark)by children and discuss the significance of the experience for the children, while the next article will describe a lesson where Yar-su was used and discuss the outcome and problems. Yar-su means a pot made of the bark(skin)of the white birch(Shirakaba), and used as a handy pot Ainu people make when hunting in the mountains. Ainu people do not overuse natural material by saying words of gratitude to nature "I will take only a bit of bark to make Yar-su" and by not taking more than what they need at the moment so that the tree will not die. Such experience of a material collection process in the Ainu way, not only teaches children formative art skills, but also teaches children how human beings should interact with nature without destroying it. While there are some studies on Yar-su that describe how to make them or ones that show varieties of bark vessels, there is no study that deals with the educational value of Yar-su. The present study is based upon the instruction of Mr. Mitsuru Sugimura(currently living in Chikabumi, Asahikawa)who is Director of Cultural Preservation, Asahikawa Ainu Association. He is a skilled carpenter of traditional Ainu houses and an Ainu craft artist. This article points out three ways that the Yar-su lesson can contribute to formative art education. Firstly, the lesson was able to develop formative art skills that make the best use of natural material. Secondly, the lesson taught children the importance of respect towards nature. Thirdly, the lesson was meaningful in that children learned the importance of respecting other cultures. This study attempted to develop educational practice unique to Hokkaido.

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Until now I have investigated the colors which can be seen in the free painting of infants. For this research I did an investigation and an analysis about the work freely produced when an infant used the best quality paper and colored paper. It looked at the development tendency of an infant's molding sense and the sense of color by comparing the result with the preceding research's result and the result of investigations into free painting. As for the form of the work, a plane work oceupied most boys and girls. Many "cutting and tearing" works were seen as an expression of the colored paper for boys and girls. The colored paper, which was used was used unconsciously. This didn't nesessarily correspond with the color expression seen in the free painting.

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The "thematic method" is an approach to imaginary picture-making in which theme sets the direction that forms the means of entry into the individual's life and world. This paper will verify the educational effectiveness of this approach as well as clarify its differences from "clinical painting probes" as the subject of painting therapy. As a result of considering the theme that would best elucidate these problems in light of themes cited for therapeutic effects, such as "all my worries" and "what troubles me" , I chose the theme"where stress goes" . Stress is grasped as suffocation, a sense of alienation, and a sense of obscurity, together with the pathological side of the mind rising from modern society;it is also a target of psychotherapy. In painting therapy, painting activities are conducted by giving themes such as "my family" , "me in the rain" , "the group and me" , and "the classroom" to juvenile delinquents, truant students and neurotic patients to expose sources of psychological discord andtraumatic psychological experiences in relationships within the family, society, and school, the awareness of which purges the emotions and creates a channel for stabilizing the mental system. The "thematic method" , by comparison, addresses the problems of how these people can regain their emotional freedom together with how they can become autonomous human beings and manage within highly civilized social and economic systems. In this respect, unlike clinical painting probes, "thematic method" probing is not limited to actual mediation of personal relationships;it extends to human and world understanding. Of course the acquisition of human and world images are conditions of intellectual training, however through this, the form of image defines one's way of living in the context of society and provides a clear outline of self(self-awareness reflecting the relationdhip with others and the world).

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This thesis studies phenomenology in art education with this question as the starting point:What is "transparent darkness" ? It further examines, through insight into the society and the world they live, the implication of expression in art education. In art education, where the overall goal is character building, would it be possible to talk about the aesthetic dimension? What is the transparent darkness? What is expression? Facing these questions, the implications of the concept of innocence, as well as the phenomenological view point, are limitless. We must review the current world from the concept of "life-world" . The actuality of art education lies in continuous consideration of a view point that would find one's existence even in the "transparent darkness" . In addition, the principle os to keep telling what it is that human beings express.

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The purpose of this paper is to define the process of media literacy at art classes. We don't have many curriculums for media in art education in Japan. So in this study, we investigate the relation between the Internet(one of them)and art education, visual design education and the Internet. Then we analyze visual design education during the production of Web pages, because there are a lot of methods for the order of construction. Therefore if we could make a order, it makes it easy for us to understand and use them. Our focus is visual design education using the Internet. When students make their Web pages to communicate some information, they have to learn before hand that other Web pages have many forms such as structure, size and color of letters and so on. We conclude that visual design education underlies the study which we use the Internet in art and learn media literacy.

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Today's target of the subject of arts and crafts is the reduction of the amount of time and the rethinking of the contents of learning. This is because of the start of synthetic learning from the year 2000. This shows it is necessary to re-build the curriculum. In the research, What kind of a activities are children interested in was looked at, and from the children's results it is clear what kind of contents to have in the class of the arts and crafts course. Children enjoyed the following method: "how to handle and express besed on the material ond the place" "appreciation or criticism" "the creation of the size" "the creation of the movement" "the copy of the image" . These are prescribed for children's formal subjects. It is conceived that the theme group which has the contents responded to the children's development based on these things. The theme group plan which is based on children's formal subject is the concrete method to reach the complete contents in a reduced time.

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This study focuses on activities that use computers, which have become very popular in schools recently. More specifically, it mainly examines the electronic publication "Collection of Children's Stories by Kenji Miyazawa" (CD-ROM). The author studied the possibilities and the potential of introducing this kind of software into educational situations. The implications of Kenji Miyazawa's work, as art material and its use in Japanese language education, will first be discussed, then the characteristics of the CD-ROM will be examined. Based on his findings, the author plans to develop a new course. Lastly, a questionnaire that was given to teachers who used the software will also be considered, and the results will be utilized to further develop Art Education and Comprehensive Learning.

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This paper examines the two different trends of thought(political and historical)in certain art educators in Germany when the Nazis came to power in 1933. Sometimes they assimilated Nazi ideology of "German National Education" in order to preserve art education in the schools. At other times they propounded the historical tradition(which began with the Art {s} Education Congresses of 1901-1905)of "Musische Erziehung[Education in Things Musical]" with its aim of "awaking and fostering the creative power(of the Muses)inherent in every Man".

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One of the necessary important conditions for the cultivation of creative ability is an amount of time that is not disturbed halfway. The reason for this necessity is as follows: When we create something, we must sink to the bottom of ourselves to know what we want to express before relating to objects or materials. We could continue to create on this basis of "enough individual time" that we get deep into ourselves to discover our own desire for expression. Our own desire makes the true relationship with the tangible world. In this article, I explore art education that is realized by our true relationship with others, from the viewpoint of the construction of art education:the relationship with each student, teacher, teaching material and aim of a class.

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The Japanese Board of Education has an administrative expression "Basis and Fundamentals" . I consider the basis and fundamentals to be the 'schema' of each individual student. The student's 'schema' is the total of their knowledge, skill, attitude, method of learning and so on... In the post modern situation, school education will become the prime motivation in their life long learning and their learning about relationships with others. At that time, school Arts will develop two roles. The first is how can we cultivate fully individual student's knowledge of, skills in, attitudes towords, and methods of learning art. The second is how can we cultivate fully rounded personalities in every student through Art studies. This paper is looking at two examples of effective methods that may be used to achieve the latter. In these cases, The Cooperative Art activities are regarded as superior tools which stimulate synthesized kmowledge and learning.

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The purpose of this research is to compare the respective effects of illustrations, slides, videos, in the media, and real works, with respect to the process of children's art appreciation in elementary school. This research that real works can allow children to form shows their own viewpoints in the freest way. But it is difficult for them to notice skills and movements of works. Concerning art appreciation through illustrations, children can also form their own viewpoints in a free way. Moreover, they can find skills and movements of works in a stronger way. With regard to art appreciation through slides, it is difficult for children to form their own viewpoints freely and to realize skills and movements of works. Regarding art appreciation through videos, children can easily pay attention to skills and movements of works, but cannot easily form their own viewpoints freely.

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This research is based on the study of the actuality of the Bauhaus, which was a German art and design school, and also an art and design movement. Form of expression and the possibility of educational materials using multimedia were experimentally inspected. The character of media(its integrated art, movement etc)as the base of media literacy education in art, and the actuality of educational materials in the teacher training course were considered in particular. In this research, media literacy is an ability of expression using multimedia, as well as an ability of understanding the character of media and the information. Examples of educational materials using multimedia include animation as a moving image, CG composition using photos of nature, and the making of commercials for goods. Multimedia expression gives us total art activity using all human senses, and can be an educational method which makes us think about the social problems caused by media.

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The art education in Japan just before the 21st century is reaching an important aspect in the following three points. (1) The compulsory Drawing and handicrafts and Art subjects had 770 units of time in 1947, but it is to be reduced to 365 units of time in 2002. The learning opportunity of the art which the children need for human development is reduced to half. (2) Against the difficult conditions e. g. increase in school violence, the teacher must study the new curriculum and its implementation. (3) In the near future, the teacher's certificate will be given without attending the class of "Drawing and handicrafts" in their teacher training period. As a result, there will be elementary school teachers without enough understanding and experience about Drawing and handicrafts. In this paper the views on the problem on art teaching which the teacher without enough understanding and experience about art teaching will have will be explained. Then, I will inquire into the problems behind it, and consider the essence of ability in teaching practice.

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Knowledge and ability of art are necessary for an art teacher. About this point my insistence is similar to the one that I see in WAKAKUWA's essay "A complaint against Art Education". But the essay has some important problems to be discussed. I considered these points at issue on the assumption that I adopt the essay as a teaching material of my lecture. 1. The points that I can agree with (1)What intelligence is (2)Usefulness of art (3)Justifiability of art education (4)Talent and ability of an art teacher (5)Unjustness of a relative evaluation (6)Education for a small number of pupils (7)What instruction is 2. The points that can be disagreed with (1)Evaluations (2)Recognition of the history and the present state of art education (3)Expression styles in art (4)Application of the developmental stage theories (5)The difference in the curriculum between public and private schools (6)The stereotypes or prejudices against the faculty of education (7)Treatment of a genius in general education (8)Conclusion that is contradictory

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The purpose of this study was to inquire into the arts education principles of Taiwan during the "the Martial Law Period". The Martial Law was brought into effect in 1948, and lifted in 1987. An emergency pronciple of arts educational policy was enforced according to "the Martial Law". Then the theory and practices of arts education were carried out, and completely obeyed the Ministry of Education. The National Taiwan Arts Education Institute was established in 1957, and it is the only one among Taiwan's museums which is concerned with arts education entirely. This paper focused on exhibitions, performances and publications of the National Taiwan Arts Education Institute. A literature investigation and statistics were taken to understand the tendency of activities in the National Taiwan Arts Education Institute. It was very obvious that the principles of arts education during "the Martial Law Period" was devoted to keeping the traditional Chinese culture in Taiwan.

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